Improvement in musical-note tablets



2 Sheets-Sheet 1.-

P. BNGERS. Musical Note-Tablet.

Patented Jan. 28,1819.

No. 211,722I

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afd s c, azl aie .PErERs, PHQFWLIYHOGRAPHER. WASHINGTON. D C

2 sheets-sheen 2.

P. ENC-BRS. Musical Note-Tablet.

N0. 211,722. Patented 1an. 28,1879.

111345511234551125455112a45e111s45s71z-m N-FETERS. FHDTOLIWOGRAPKER. WASHINGTON, D C.

UNITED STATES PATENT OEEToE.

PETER ENGERS, OF DORSEYVILLE, PENNSYLVANIA.

IMPROVEMENT IN MUSICAL-NOTE TABLETS.

Specification forming part of' Letters Patent No. 211,722, dated January QS, 1879; application filed October 16, 1878.

.To all whom it may concern:

Be it known that I, PETEnEN-Gnns, of Dorseyville, in the county of Allegheny and State of Pennsylvania, have invented a new and useful Improvement in Musical-Note Tablets, which improvement is fully set forth in the following` specification, reference being had to the accompanying drawings, in which- Figure l represents a plan or face view. Fig. 2 is a sectional plan. Fig. 3 is a vertical section in the plane a', Figs. l and 2. Figs. el, 5, 6, and 7 are plan views of' the scale-slides when unrolled.

Similar letters indicate corresponding parts.

This invention consists in a tablet containin g three double scales of' musical notes, a representation of' the key-board ot' a pianoforte or organ, and four slides, (one foreach of the double scales and one for the keyboard,) so that the various scales can be adjusted to all the major and minor keys, and by the keyboard slide the keys ofthe pianoforte or orga-n corresponding to the notes required for each major or minor key can be indicated, and the names of the notes in each vocal and instrumental piece can be ascertained, andalso the keys of an organ or piano-forte on which these notes are played.

In the drawings, the letter A designates my tablet, on which are shown three different ways to name the notes-either by the figures l, 2, 3, 4, 5, 6, and 7, or by thesyllables do, re, mi, fa, sol, la, si, or by the lettersC, D, E, F, G, A, B, with sharps and flats.

On the tablet A are three double scales of notes, B Bl, C C1, D D1, and between these double scales are cylindrical slides B2 C2 D2. On each of' these slides are several double rows of' figures, `the upper rows referring to the scales, B C D, above the slides, which are in the violin or G clef, and the lower rows to the scales, B1 Cl DI, below said slides, which are in the bass or F clef'. On 011e side of the upper slide, B2, (see Fig. 4,) are two rows ot' the syllables do,re,mi, fa, sol, la, si, the ripper row referring to the scale B in the G clef, and the lower row to the scale B1 in the F clet.

On the lower part ot' the tablet A is an imitation key-board, E, and a cylindrical slide, E2, marked with several rows ot figures, Fig.

7, to point out the keys which are used in` playin g the not-es of all maj or and minor gam nts, (or keys.)

The scales B B1 exhibit the notes according` to the tonic system for the human voice, and whenever 011e or more of these notes is to be sun g or played halt a tone higher or lower in any key, the sharp or fiat sign is placed on the staffer staffs in the beginning of each line. The slide B2 designa-tes the notes on the scales B B1, either by the syllables do, re, mi, fa,&c., or by the figures l, 2, 3, &c.; and by moving the slide in or out, the key in which the piece is to be sung or played is indicated, as will be presently more fully explained.

lhe names of the notes according to the letters G, D, E, Sac., are ascertained f'or each major and minor key by the slides (l2 D2 and the scales C C1, D D1. The slide G2 contains four double rows of figures, C2, B2, D, and N o. Il, Fig. 5, the double row No. Il serving to indicate the names of' the notes for the major keys; the double row D?, those f'or the minor keys, fundamental form the double row B2, those for the minor keys, melodic form; and the double row G2, those for the minor keys, harmonic form. The slide D2, Fig. 6, contains double rows of figures, C4, B, Dt, and N o. III, like the slide O2; but the double scale C (il points ont the not-es in t-he succession of fifths, and the double scale D D2 inthe succession ot' fourths. In the melodic form 'ofl minor keys the large figures 6 and 7 are taken in ascending, and the small figures (i and 7 in descend ing. The slide E2, Fig. 7, contains single rows of figures, C5, 13'", D5, a-nd No. lV, to indicate the keys of a piano-forte or organ to be played f'or each note in the different keys.

For naming and sin gin g the notes according to figures 1,2, 3, &c., the double scale B Bland the slide B2 are employed. rlhe figure l on the slide B2 points out the first degree of' a note or toile of any major or minor key; 2, the second; 3, the third; l, the fourth; 5, the fifth; G, the sixth; 7, the seventh. These seven figures are repeated as many times as maybe rcquired.

For a vocal piece in the natural key, the first 5 in the upper row of' figures ou the slide 132 is placed under the first note in the scale ll.

All the figures in the upper and lower row then designate the notes in their proper degree in the key C.

For the key with one sharp, place l under the first note; for the key with two sharps, place 4 under the first note; f'or the key with three sharps, pla-ee 7 under the first note; for the key with four sharps, place 3 under the first note; for the key with five sharps, place 6 under the first note; for the key with one fiat, place 2 under the first note; for the key with two flats, place 6 under the first note; for the key with three flats, place 3 under the first note; for the key with f'our flats, place 7 under the first note; for the key with five flats, place 4 under the first note; for the key with six Hats, place l under the first note. For singing according to do, re, mi, &c., in the natural key C, place sol under the first note; in the key of one sharp, place do under the first note; in the key of two Sharps, place f'a under the first note; in the key of three sha-rps, place si under the first note; in the key of four sharps, place mi under the first note; in the key of tive Sharps, place la under the first note; in the key of' six Sharps, place re under the first note inthe key with one fiat, place re under the first note; in the key with two flats, place la under the rst note; in the key with three flats, place mi under the first note; in the key with four flats, place si under the first note; in the key with five flats, place fa under the first note; in the key wit-h six flats, place do under the first note.

In naming and singin g the notes according to the letters C, D, E, 85e., in the double scale C C', f'or the natural key G, place the figure 5 of' No. Il, Fig. 5, under the first note of' scale C; for the key with one sharp, place l under the first note; f'or the key with two sharps, place 4 under the first note; for the key with three Sharps, place 7 under the first note; for the key with f'our Sharps, place 3 under the first note; for the key with five sharps, place 6 under the first note; for the key with six sharps, place 2 under the first note.

For the keys with fla-ts, the double scale D Dl and slide D2 have to be used, as follows: For the key with one flat, the figure 2 in the row No.1lI of slide D2, Fig. 6, has to be placed under the first note in scale D; for the key with two flats, place 6 under the first note; for the key with three flats, place 3 under the first note; for the key with f'our flats, place 7 under the first note; for the key with five flats, place 5 under the first note; for the key with six flats, place 2 under the first note.

For minor keys, fundamental forni, in the succession of fifths, the scales (l Cl and the double row of figures D3 on slide C2 are used.

For A minor, place 7 under the first note G of scale C; for E 1ninor,pla-ee 3 under the first note G of scale C; for B-fiat minor, place 7 under G-sharp of' scale C; f'or Fsharp1ninor, place 2 under G-sharp of scale C; for C-sharp minor, place 5 under (vi-sharp ot scale C; for

G-sharp minor, place l under G-sharp of scale C; for D-sharp minor, place 4 under G-sharp of' scale C.

For minor keys, harmonic form, in the succession of fifths, the double row B3, Fig. 5, on slide C2 is used, as f'ollows: For A minor, place 7 under Gsharp of' scale C; for E minor, place 3 under G of' scale G; for B-at minor, place l under A-sharp of scale C; f'or F-sharp minor, place 2 under Gsharp of' scale C; for Gsharp minor, place 5 under G-sharp of scale C; for G-sharp niinor, plaee7 under G of scale C; for D-sharp minor, place 4 under G-sharp of scale C.

For minor keys, melodic form, in the suecession of fifths, the double row C3, Fig. 5, on slide C2 is used, as follows: For A minor, place 7 under G-sharp of scale C; for E minor, place 3 under G of' scale C; for B-flat minor, place 7 under A-sharp of scale C; for F-sharp minor, place 2 under G-sharp of scale C; f'or C-sharp minor, place 5 under G-sharp of' scale C; for G-sharp minor, place 7 under G of scale C; for D-sharp minor, place 4 under G-sharp of scale C.

For minor keys in the succession of' fourths, the scale D D1 and slide D2 are used-that is to say, for fundamental form the rows D4, Fig. 6, as follows: For D minor, place 4 under G of scale D; for G minor, place l under G of scale D; for C minor, place 5 under G of' scale D; for F minor, place 2 under G of scale D; for B-fiat minor, place 6 under G of scale D; for E-flatn1inor,place 4 under A-flat of scale D.

For harmonic form, for D minor, place 4 under G of` scale D; for G minor, place 1 under G of scale D; for C minor, place 5 under G of' scale D; f'or F 1ninor,place 2 under G of scale D; for B-flat minor, place 6 under G of' scale D; for E-flat minor, place 4 under G-flat of scale D.

For melodie forni, for D minor, place 4 under G of scale D; for G minor, place l under G of scale D; for C minor, place 5 under G of' scale D; for F minor, place 2 under G of scale D; for B-flat minor, place 6 under A-flat of scale D; for E-fiat minor, place 4under A-flat of scale D.

In order to ascertain the keys of a pianoforte or organ for all the major and minor` keys, the slide E2 is used in connection with the key-board E, and the figure l on slide E2 is in all cases placed over that key of the keyboard which is marked with the respect-ive keynote-that is to say, in the key C place l over C, in the key G place l over G, and so on.

By referring to Fig. 2 it will be seen that the tablet is provided with an extension, A', to receive the inner ends of the several slides.

What I claim as new, and desire to secure by Letters Patent, is-

1. A tablet containing three double scales of musical notes, a rei'iresentation of the keyboard of a piano-forte or organ, and four slides, (one for cach of' the double scales and one for the key-board,) Said slides being marked with figures or syllables, all constructed and adapted to operate substantially as and for the purpose shown and described.

2. The combination, with the tablet A, donhle scales B B1, C G1, D D, key-board E, and slides B2, C, D2, and E2, of an extension, A', substantially as :uid for the purpose set forth.

In testimony that I elimini the foregoing I hereunto set my hand and seal this 9th day of October, 1878.

PETER ENGERS. [L. s] Witnesses:

AnoLPI-I FEITKNECHT,

HENRY MAEDER. 

